Andrea Solario (1460?-1515?), who was perhaps the pupil of his brother Cristoforo a sculptor and architect, went with him to Venice in 1490 and remained there at least three years. During this time he came under the influence of Alvise Vivarini and Giovanni Bellini. Earlier in his career he was impressed by the pictures of Antonello da Messina, who was in Venice and Milan in 1475-1476. Solario can hardly have become Antonello’s pupil at that early age. He must also have come within the sphere of Leonardo da Vinci’s influence. Leonardo, who worked in Milan between 1482 and 1500 and from 1506 to 1513, was asked by the Cardinal George of Amboise to decorate a chapel in the Château at Gaillon in Normandy. He, however, advised the Cardinal to employ Solario. Solario in consequence went to France in August 1507 to undertake the work. The Louvre is rich in his pictures. His charming _Madonna of the Green Cushion_ (No. 1530) is inscribed: _Andreas de Solario fa._ This small panel was once the property of Marie de Médicis. The _Crucifixion_ (No. 1532) was formerly catalogued under the name of Andrea de Milan, which led some to confuse Andrea Solario with the much less efficient painter, Andrea Salaino. This picture is inscribed: ANDREAS MEDIOLANENSIS FA 1503, a form of signature which is said to have been employed by Solario only for such of his pictures as were destined for other towns than Milan. The _Head of St. John the Baptist on a Charger_ (No. 1533) is said to be signed and dated ANDREAS DE SOLARIO, FAT, 1507. The _Portrait of Charles d’Amboise, Seigneur of Chaumont and Governor of Milan_ (No. 1531), like many other of Solario’s pictures, has in the past, when the range of his art was not so well understood, been attributed to other artists. BERNARDINO LUINI In Bernardino Luini (1475?-1533?) we have a lyrical artist. He is said to have been a pupil of one Stefano Scotto, but he was deeply impressed by the art of Borgognone, and early in the sixteenth century came under the influence of Leonardo. Indeed, it was almost impossible at that period of Milanese art for a painter in that school to resist the style of Leonardo. Although Luini’s works are reminiscent of the greater master, he strove after originality; he was an industrious painter rather than an artist of genius. Luini is never very emotional, never passionate, never dramatic. His figures are characterised by sweetness and grace; his types are refined but insipid and are apt to become monotonous. It is as a painter of frescoes that he succeeds best, and the Louvre is fortunate in possessing several of his works in that medium. The best are a _Nativity_ (No. 1359), and an _Adoration of the Magi_ (No. 1360). The _Head of Christ_ (No. 1361) is inscribed: